Pallant House Gallery

Total Page:16

File Type:pdf, Size:1020Kb

Pallant House Gallery __ The Economic Contribution of Pallant House Gallery 16 June 2016 Contents 5. Economic Model ............................................................................... 20 5.1 Additionality Analysis .......................................................................... 21 1. Executive Summary ........................................................................... 3 5.2 Economic Multipliers ........................................................................... 23 1.1 Growing Organisation ........................................................................... 3 5.3 GVA and FTE Conversion .................................................................. 23 1.2 Dedicated Audience ............................................................................. 3 5.4 Economic Modelling Results ............................................................... 24 1.3 Overall Economic Impact ..................................................................... 3 5.4.1 Audience Analysis ............................................................................... 24 1.4 Expansion since 2008 .......................................................................... 4 5.4.2 Organisation Analysis ......................................................................... 25 2. Introduction ........................................................................................ 5 5.4.3 Overall Assessment ............................................................................ 25 2.1 Methodological Overview ..................................................................... 5 6. Comparison with 2008 Study ........................................................... 26 2.2 Report Overview ................................................................................... 5 6.1 Number of Annual Visitors .................................................................. 26 3. Organisational Overview ................................................................... 7 6.2 Visitor Behaviour ................................................................................. 26 3.1 Stakeholder Views ................................................................................ 7 6.3 Pallant House Gallery Employment .................................................... 27 3.2 Wage and Supplier Spending by Pallant House Gallery ...................... 8 6.4 Staff Spending .................................................................................... 27 3.3 Wage and Supplier Spending by Pallant Bookshop ............................ 8 6.5 Visitor Spending .................................................................................. 27 3.4 Wage and Supplier Spend by Pallant Restaurant and Café ................ 8 6.6 Origin of Visitors .................................................................................. 27 3.5 Total Wage, Supplier Spending and Organisational Employment ....... 8 6.7 Gross Economic Impact ...................................................................... 27 3.6 Staff Behaviour ..................................................................................... 9 6.8 Summary: 2008 Comparison .............................................................. 28 4. Visitor Survey ................................................................................... 10 4.1 Motivations for Pallant House Gallery ................................................ 10 4.2 Behaviour of Gallery Visitors .............................................................. 11 4.3 Origin of Visitors ................................................................................. 12 4.4 London Visitors ................................................................................... 14 4.5 Background of Visitors ....................................................................... 14 4.6 Visitor Spending ................................................................................. 15 4.7 Seasonality Analysis .......................................................................... 17 Page 2 of 28 1. Executive Summary 1.2 Dedicated Audience Pallant House Gallery has received national and international acclaim, which Pallant House Gallery is not only an internationally significant cultural institution has helped to build a loyal audience that travel significant distances, spending and socially engaged organisation, it is a driver of increased economic activity. considerable sums in the local economy. Some of the characteristics of this This increased economic activity is generated through: audience are: — The expansion of Pallant House Gallery as an organisation, in terms of — 75% of visitors cite the temporary exhibitions programme as the main reason supplier and wage spending, as well as employment. for their visit. — The cultivation of a robust audience following that is willing to travel — 65% travel only to see Pallant House Gallery – not as part of a broader significant distances to visit the gallery and which spends considerable sums holiday or to see family and friends. in the local economy. — 13% stay overnight. The combination of this growing organisation and dedicated audience creates — 64% come from outside West Sussex. the economic impact of Pallant House Gallery, which we find has impressively increased since it was previously reported upon in 2008.1 — 2% are international visitors, generating around £82,000 in exports annually from their spending in association with Pallant House trips. 1.1 Growing Organisation — Visitors spend on average £68.63 during their trips to Pallant House Gallery The continued growth of Pallant House Gallery as an organisation means that it – with over 60% of this spending going on consumption in the local economy now: of Chichester, not in Pallant House Gallery itself. — Spends £638,481 annually on the wages of workers based in Chichester and — Having analysed the spending profiles of visitors to the gallery for exhibitions £729,299 in the wages of workers based in West Sussex as a whole. at different times of year, we find that Pallant House Gallery attracts visitors — Contributes £405,844 to the economy of Chichester through spending on that are contributing significant sums to the local economy all year round. local suppliers and £427,458 across West Sussex as a whole. 1.3 Overall Economic Impact — Employs 67 people on a headcount basis and 47 on a Full-Time Equivalent (FTE) basis. These figures include the gallery, bookshop and restaurant – We have effectively developed two economic models for this project: one that the same organisational definition as applied in the 2008 study. replicates that methodology used when Pallant House Gallery was last subject — Has employees based outside Chichester who spend approximately £97,000 to an economic impact assessment in 2008; one that follows the methodology annually during their time in Chichester. that BOP typically applies to economic impact assessment, which includes an additionality assessment. — 1 University of Portsmouth, Pallant House Gallery, Economic Impact Study 2008 Page 3 of 28 This additionality assessment takes account of how much economic activity These increased visitors are also spending more than visitors in 2008. The generated by the gallery in Chichester and West Sussex would have been previous economic impact assessment reported an average per trip spend of generated over these geographies even if the Gallery did not exist. In these £29.19, whereas we find that this is now £68.62. terms, we find that in 2015: The Gallery is also a larger organisation than it was in 2008. On a Full-Time — Pallant House Gallery generated £3,716,220 of additional revenue in Equivalent (FTE) basis, the number of staff employed by Pallant House has Chichester and £4,948,705 of additional revenue in West Sussex. increased by 24% since then. And now stands – when, as per the 2008 study, — Pallant House Gallery generated £1,672,886 of additional GVA in Chichester the gallery, bookshop and restaurant are all factored in - at 67 staff. and £2,119,038 of additional GVA in West Sussex. When we replicate the economic impact methodology used in the 2008 study, — Pallant House Gallery generated 77 additional FTE jobs in Chichester and we find that, in these methodological terms, the overall economic impact of the 96 additional FTE jobs in West Sussex. gallery upon Chichester has increased by 67% to around £4,453,000. While this 1.4 Expansion since 2008 approach does not include an additionality assessment, which is considered to be more robust, the significant increase in economic impact reported by applying an equivalent methodology to that used in 2008 is consistent with the Pallant House Gallery is attracting an increasing number of visitors. The most expansion over the intervening period of the gallery in terms of its local supplier recent financial year saw 63,711 visitors – a 5% increase on 60,457, the figure and wage spends, as well as the growth in number of gallery visitors and the for the 2007/08 financial year, the financial year closest to the last economic average spends per trip of these visitors. impact assessment. During 2007/08, it is likely that the number of visitors would have been assisted by the then relatively recent addition of a new wing, opened in July 2006. Cultural institutions typically experience upticks in attendance in the year following expansions. There has been some fluctuation in attendance at Pallant House Gallery over the intervening period. However, growth has been steady in recent years.
Recommended publications
  • The British Library
    PUBLIC SPACE AND THE ROLE OF THE ARCHITECT London Modernist Case Study Briefing (c. 2016 FABE Research Team, University of Westminster) THE BRITISH LIBRARY CONTENTS SUMMARY………………………………………………... .......... 3 1. BUILDING CHRONOLOGY……………………………......... 4 2. POLICY AND IDEOLOGY………………………………........ 7 3. AGENTS……………………………………………………….. 12 4. BRIEF…………………………………………………….......... 14 5. DESIGN…………………………………………………………16 6. MATERIALS/CONSTRUCTION/ENVIRONMENT 22 7. RECEPTION…………………………………………….......... 22 BIBLIOGRAPHY………………………………………….……… 26 PROJECT INFORMATION Case Study: The British Library, 96 Euston Rd, London NW1 2DB Dates: 1962 - 1998 (final plan 1977, build 1982-1999, staggered opening November 1997- June 1999) Architects: Colin St John Wilson with M.J. Long, John Collier, John Honer, Douglas Lanham, Peter Carolin Client: The British Museum, then The British Library (following Act of Parliament 1972) Contractors: Phase 1A, Laing Management Contracting Ltd. Completion phase, McAlpine/Haden Joint Venture Financing: National government Site area: 112,643 m2 (building footprint is 3.1 hectares, on a site of 5 hectares) Tender price: £511 million. Budget overrun: £350 million 2 SUMMARY The British Library, the United Kingdom’s national library and one of six statutory legal depositories for published material, was designed and constructed over a 30-year period. It was designed by Colin St John Wilson (1922 – 2007) with his partner M J Long (1939 – ), and opened to the public in 1997. As well as a functioning research library, conference centre and exhibition space, the British Library is a national monument, listed Grade I in 2015. Brian Lang, Chief Executive of the British Library during the 1990s, described it as “the memory of the nation’, there to ‘serve education and learning, research, economic development and cultural enrichment.’1 The nucleus of what is now known as the British Library was, until 1972, known as the British Museum Library.
    [Show full text]
  • St Cross Building, 612/24/10029 University of Oxford
    St. Cross Building Conservation Plan May 2012 St. Cross Building, Oxford Conservation Plan, May 2012 1 Building No. 228 Oxford University Estates Services First draft March 2011 This draft May 2012 St. Cross Building, Oxford Conservation Plan, May 2012 2 THE ST. CROSS BUILDING, OXFORD CONSERVATION PLAN CONTENTS 1 INTRODUCTION 7 1.1 Purpose of the Conservation Plan 7 1.2 Scope of the Conservation Plan 8 1.3 Existing Information 9 1.4 Methodology 9 1.5 Constraints 9 2 UNDERSTANDING THE SITE 13 2.1 History of the Site and University 13 2.2 Design, Construction, and Subsequent History of the St. Cross 14 Building 3 SIGNIFICANCE OF THE ST. CROSS BUILDING 21 3.1 Significance as part of the Holywell suburb, and the Central (City 21 and University) Conservation Area 3.2 Architectural Significance 24 3.3 Archaeological Significance 26 3.4 Significance as a major library and work space 27 3.5 Historical Significance 27 4 VULNERABILITIES 31 4.1 Access 31 4.2 Legibility 32 4.3 Maintenance 34 St. Cross Building, Oxford Conservation Plan, May 2012 3 4.4 Health and Safety 40 5 CONSERVATION POLICY 43 6 BIBLIOGRAPHY 51 7 APPENDICES 55 Appendix 1: Listed Building Description 55 Appendix 2: Conservation Area Description 57 Appendix 3: Chronology of the St. Cross Building 61 Appendix 4: Checklist of Significant Features 63 Appendix 5: Floor Plans 65 St. Cross Building, Oxford Conservation Plan, May 2012 4 St. Cross Building, Oxford Conservation Plan, May 2012 5 THIS PAGE HAS BEEN LEFT BLANK St. Cross Building, Oxford Conservation Plan, May 2012 6 1 INTRODUCTION The St.
    [Show full text]
  • R.B. Kitaj: Obsessions
    PRESS RELEASE 2012 R.B. Kitaj: Obsessions The Art of Identity (21 Feb - 16 June 2013) Jewish Museum London Analyst for Our Time (23 Feb - 16 June 2013) Pallant House Gallery, Chichester, West Sussex A major retrospective exhibition of the work of R. B. R.B. Kitaj, Juan de la Cruz, 1967, Oil on canvas, Astrup Fearnley Museum of Modern Art, Oslo; If Not, Not, 1975, Oil and black chalk on canvas, Scottish Kitaj (1932-2007) - one of the most significant National Gallery of Modern Art, Edinburgh © R.B. Kitaj Estate. painters of the post-war period – displayed concurrently in two major venues for its only UK showing. Later he enrolled at the Ruskin School of Art in Oxford, and then, in 1959, he went to the Royal College of Art in This international touring show is the first major London, where he was a contemporary of artists such as retrospective exhibition in the UK since the artist’s Patrick Caulfield and David Hockney, the latter of whom controversial Tate show in the mid-1990s and the first remained his closest painter friend throughout his life. comprehensive exhibition of the artist’s oeuvre since his death in 2007. Comprised of more than 70 works, R.B. During the 1960s Kitaj, together with his friends Francis Kitaj: Obsessions comes to the UK from the Jewish Museum Bacon, Frank Auerbach and Lucian Freud were Berlin and will be shown concurrently at Pallant House instrumental in pioneering a new, figurative art which defied Gallery, Chichester and the Jewish Museum London. the trend in abstraction and conceptualism.
    [Show full text]
  • R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985).
    [Show full text]
  • 2019/20 Exhibitions
    2020/21 EXHIBITIONS (list updated on 25 February) National Gallery, London Young Bomberg and the Old Masters (until 1 March) (Free) https://www.nationalgallery.org.uk/exhibitions/young-bomberg-and-the-old-masters Nicolaes Maes: Dutch Master of the Golden Age (until 31 May) (Free) https://www.nationalgallery.org.uk/exhibitions/nicolaes-maes-dutch-master-of-the-golden-age Titian: Love, Desire, Death (16 March – 14 June) https://www.nationalgallery.org.uk/exhibitions/titian-love-desire-death Artemisia Gentileschi (4 April – 26 July) https://www.nationalgallery.org.uk/exhibitions/artemisia Sin (15 April – 5 July) (Free) https://www.nationalgallery.org.uk/exhibitions/sin Raphael (3 October – 24 January 2021) https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-raphael Dürer’s Journeys: Travels of a Renaissance Artist (13 February 2021 – 16 May 2021) https://www.nationalgallery.org.uk/exhibitions/durers-journeys-travels-of-a-renaissance-artist National Portrait Gallery, London (will be closed from June 2020 for three years for revamp!) Cecil Beaton’s Bright Young Things (12 March – 7 June) https://www.npg.org.uk/whatson/exhibitions/2019/cecil-beatons-bright-young-things/ David Hockney: Drawing from Life (27 February – 28 June) https://www.npg.org.uk/whatson/exhibitions/2019/david-hockney-drawing-from-life/ BP Portrait Award (21 May – 28 June) https://www.npg.org.uk/whatson/bp-portrait-award-2020/exhibition/ Royal Academy Picasso and Paper (until 13 April) https://www.royalacademy.org.uk/exhibition/picasso-and-paper Léon
    [Show full text]
  • UC Irvine Electronic Theses and Dissertations
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Surrealism: a Marxist Enterprise in 1930s London Permalink https://escholarship.org/uc/item/6vk769zn Author Obarski, Susan King Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930s LonDon DISSERTATION submitteD in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Susan King Obarski Dissertation Committee: Professor James D. Herbert, Chair Professor Cécile Whiting Associate Professor Catherine L. Benamou 2014 © 2014 Susan King Obarski DEDICATION To my parents Joan anD Jim King, and my Daughter Katie Obarski, for their love and unconditional support. ii TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS xi CURRICULUM VITAE xii ABSTRACT OF THE DISSERTATION xiv INTRODUCTION 1 CHAPTER 1: Establishing the Revolutionary Aims of British Surrealism 11 Extending Unit One 15 Aligning with Breton and Local British Traditions 18 Part of a Growing British Left 21 The International Surrealist Exhibition 31 Postmortem anD Response to the Press 46 Standing with anD Against English Culture 48 Conclusions 56 CHAPTER 2: Eileen Agar anD the Compromises of Pursuing A Free Revolutionary Art 65 Surrealism ConceiveD Upmarket 72 Autobiography of an Embryo 76 Angel of Anarchy 93 Agar as ProDucer 97 Cultural Production as a Political Cause 106 Conclusions 113 CHAPTER 3: Speaking to the Masses with Surrealist Film 125 Contributions to the British Surrealist Group 136 Presenting the Social by Experimental Means 144 Evolving Labor and Technology in The Birth of the Robot 154 MoDern Workers in Spare Time 161 Conclusions 174 CHAPTER 4: Exhibiting Picasso’s Guernica: Melding Marxist ideology and Capitalist Enterprise to Oppose Fascism 185 Spain as a Defining Surrealist Issue 189 Unity and Conflict in the A.I.A.
    [Show full text]
  • Curriculum Vitae for Professor Peter Blundell Jones
    Curriculum vitae for Professor Peter Blundell Jones. Qualifications: RIBA parts 1&2. A.A.Diploma. M.A.Cantab. Career Summary Born near Exeter, Devon, 4/1/49. Architectural education: Architectural Association, London, 1966-72. October 1972/ July 73: Employed by Timothy Rendle, ARIBA, in London, as architectural assistant. September 1973/ June 1974: Wrote book on Hans Scharoun, published by Gordon Fraser. September 1974/ June 1975: Part-time tutor at Architectural Association. July 1975/ May 1977: In Devon as designer and contractor for Round House at Stoke Canon near Exeter, published in The Architectural Review and now included in Pevsner’s Buildings of England. 1977/ 78: free-lance lecturer and architectural journalist. October 1978/ September 1983: Full time post as Assistant Lecturer in architecture at Cambridge University. Duties included lecture series in architectural theory, studio teaching, and examining. 1983/ 87: visiting lecturer at Cambridge University and Polytechnic of North London, free- lance journalist and critic writing for Architects’ Journal and Architectural Review, research on German Modernism focusing on Hugo Häring. Member of CICA, the international critics organisation. September 1988/ July 1994: full time post as Principal Lecturer in History and Theory at South Bank Polytechnic, later South Bank University. Visiting lecturer in other schools. External examiner 1988-91 to Hull school of architecture, and subsequently to Queen’s University Belfast. Readership at South Bank University conferred December 1992. Since August 1994: Professor of Architecture at the School of Architecture, University of Sheffield, with responsibility for Humanities. Member of the executive group, organiser and contributor to lecture courses and several external lecture series, reorganiser of the Diploma School in the late 1990s and studio leader, tutor of dissertations at both undergraduate and Diploma levels: heavy commitment in recent years to the humanities PhD programme.
    [Show full text]
  • Modern British and Irish Art Wednesday 28 May 2014
    Modern British and irish art Wednesday 28 May 2014 MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London duBlin Viewing Bids enquiries CustoMer serViCes (highlights) +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Sunday 11 May 12.00 - 17.00 +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 Monday 12 May 9.00 - 17.30 To bid via the internet please +44 (0) 20 7468 8295 Tuesday 13 May 9.00 - 17.30 visit bonhams.com [email protected] As a courtesy to intending bidders, Bonhams will provide a london Viewing Please note that bids should be Penny Day written Indication of the physical New Bond Street, London submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Thursday 22 May 14.00 - 19.30 the day prior to the sale. New [email protected] request is received up to 24 Friday 23 May 9.30 - 16.30 bidders must also provide proof hours before the auction starts. Saturday 24 May 11.00 - 15.00 of identity when submitting bids. Christopher Dawson This written Indication is issued Tuesday 27 May 9.30 - 16.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Wednesday 28 May 9.30 - 12.00 your bid not being processed. [email protected] to Bidders. Live online bidding is available Ingram Reid illustrations sale number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 iMportant inforMation [email protected] The United States Government has banned the import of ivory into the USA.
    [Show full text]
  • From Islands of Knowledge to Districts of Innovation Katharina Borsi* And
    Typologies of KnowledgeUniversities and the City: from Islands of Knowledge to Districts of Innovation Katharina Borsi* and Chris Schulte aDepartment of Architecture and Built Environment, University of Nottingham, Nottingham, UK; bDepartment of Architecture and Built Environment, University of Nottingham, Nottingham, UK Dr Katharina Borsi Department of Architecture and Built Environment University Park Nottingham NG7 2RD UK Telephone: 0115 95 13172 Email: [email protected] ORCID ID: orcid.org/0000-0001-6745-3547 Typologies of KnowledgeUniversities and the City: from Islands of Knowledge to Districts of Innovation We are witnessing a new trend in the design of university buildings and other ‘knowledge typologies’, that is, buildings in which knowledge is produced or disseminated, such as university buildings, research laboratories or libraries. Increasingly, their design inverts the image of the closed ‘ivory tower’ through a layered intersection of inside and outside spaces, seeking to draw the life of the city and the life of the institution closely together. Using London’s ‘Knowledge Quarter’ centred in Bloomsbury, Euston and King’s Cross as a focus, this paper traces a trajectory of typological evolution of university buildings which includes Adams, Holden and Pearson’s ‘ivory tower’ project for a new headquarter of the University of London (1932), of which only Senate House was built; Leslie Martin’s and Trevor Dannatt’s radical restructuring of the Georgian urban structure through the Development Plan of the University of London (1959); Denys Lasdun’s evolution and typological reworking of this plan through the Institute of Education (1970–1976) and the library of SOAS (1970-1973); Colin St John’s Wilson’s British Library (1982 - 1999); and Stanton Williams’ Central St Martins (2008- 2011).
    [Show full text]
  • The British Library at St Pancras Building the Future
    The British Library at St Pancras Building the future Second Edition Introduction: an evolving building In 2015 we published Living Knowledge, our We want the Library – one of the great public This brochure shares our vision to reorient and eight-year strategy which has at its heart a vision of buildings of the 20th century and Grade I listed – to expand our magnificent building’s capabilities so the British Library becoming the most open, creative evolve into one of the world’s great knowledge hubs that we are better able to anticipate and meet the and innovative institution of its kind in the world for the 21st century. Our physical spaces are now needs of our users, our local community and the by the time of our 50th anniversary in 2023. Our reaching capacity and our exhibition galleries are wider national and international network of libraries. ambitions for our St Pancras site are central to able to display only a fraction of the treasures that Working in tandem with our other major facility at achieving that vision. we hold. The huge success of recent exhibitions Boston Spa in Yorkshire, we want St Pancras to drive on Magna Carta, 20th Century Maps, the the next stage of the British Library’s evolution as a Since we opened our doors on Monday 24 November Russian Revolution and Harry Potter highlights global player in the knowledge economy. 1997, the British Library at St Pancras has become a growing public appetite for engaging with our an icon of the information age. The architect of this collection – if we could only expose a greater It’s a once-in-a-generation opportunity to transform remarkable building, the late Sir Colin St John Wilson proportion of it, whether on-site or online.
    [Show full text]
  • Peter Carolin, Born 1936
    PETER CAROLIN, BORN 1936 The fifth generation of a Scots South American family, Peter Carolin’s naval National Service included the Suez debacle of 1956. As an architect, he worked for John Voelcker of Team 10 and with Colin St John Wilson on the British Library. He edited both the Architect’s Journal, Magazine of the Year, 1985, and arq, which was awarded the learned journal equivalent, 2002. He was Professor and Head of the Department of Architecture at Cambridge, 1989- 2000, and chaired the Cambridge Futures project. Peter Carolin Architect, editor, academic Born 1936 Autobiographical life story Available online at www.livesretold.co.uk Contents 1. Introduction 2. The Irish and the Scots 3. A Rio Childhood 4. Prep School in Surrey 5. Radley and Holidays 6. The Navy and Suez 1956 7. Corpus and Cambridge 8. John Voelcker 9. The Bartlett 10. Sandy Wilson's Cambridge Practice 11. London and the British Library 12. Cambridge Design 13. The AJ 14. Cambridge yet again 15. Retirement 16. Sailing 17. Birgit and our children 18. Looking back 1. Introduction My father, a pipe smoker, was an unliterary man. And yet he loved books. He had an extraordinarily fine collection of antiquarian editions on Brazil. But I never saw him reading any of them and the only writing of his own that survives are his meticulous account books and a dry-as-dust book on how to set up a company in Brazil. We never tried to persuade him to write a memoir of his life – I think we knew that he wouldn’t have done so, for his Irishness was of a rather puritan kind and, despite an interesting life, he was not a man to talk about it or to see it in a wider perspective.
    [Show full text]
  • Tobacco Dock, 6 by Michael Courtney and Richard Matthews
    THE ARUP JOURNAL AUTUMN 1988 Vol.23 No.3 Autumn 1988 Contents Published by Ove Arup Partnership THEARUP 13 Fitzroy Street, London Wl P 680 Editor· David Brown JOURNAL Art Editor: Desmond Wyeth FCSD Progress at the British Library, 2 by Peter Ryalls and Tony Stevens Tobacco Dock, 6 by Michael Courtney and Richard Matthews Flue gas desulphurization study, 12 by Malcolm Nayee, Paul Johnson and Charles Milloy Glasgow Garden Festival: 14 Maritime Area and Pavilions, by Alistair Smith Fitzwilliam College, Cambridge, 17 by Robert Pugh Front cover: Vaults at Tobacco Dock (Photo: Richard Matthews) Back cover: The British Library under construction, August 1988 (Photo: Peter Mackinven) Tests to explore the feasibility of forming pile The heights and forms of the roofscape of the Progress at the underreams in the Woolwich and Reading Rare Books Reading Rooms were informed Beds were undertaken early in 19793. But by light angles to Levita House, a block of British Library the preliminary contract for secant pile walls, council dwellings. The architects have piling and some excavation did not begin planned the closed access Reading Rooms Architect: until April 1982. Substantive work on Phase to be interconnected level by level and Colin St. John Wilson & Partners 1AA began in July 1984. illuminated from above by clerestory and skylights. Planning objectives Peter Ryalls The departments of the British Museum The height and bulk of the buildings of the Library to be transferred to the British Library British Library, especially the Science Refer­ Tony Stevens at Euston comprise: ence Library, are governed by planning con­ ditions dictated in part by the presence of St.
    [Show full text]